Features of Ensemble Music-Making in the Western European Baroque Solo Violin Musical Text
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Abstract
The emergence of compositions for solo violin in professional music of the 17th and 18th centuries is closely connected with the evolution of instrumental ensemble groups, in which string instruments assumed important positions. Here performance techniques were elaborated, and the intonational-lexical “vocabulary” of the violin was formed, which determined its poly- functionality. Gradually the violin became an independent instrument with its own specific features. The tradition of violin instrumental performance cultivated unique technical, acoustic and intonational-expressive characteristics, bringing them to the level of perfection. At the same time, during the various stages of the baroque period the evolution of the genres of violin music and, to take a broader view, of all instrumental music took course in close interaction. There appeared the inevitable processes of mutual enrichment, migration and adaptation of semantic structures from chamber and orchestral compositions. They presented universal “bonds” for organizing integrated musical texts of instrumental compositions. At the same time, the musical texts of solo compositions, presenting a phenomenon autonomous in its structural-semantic aspect, and the musical text of violin parts in chamber works as parts of the chamber ensemble score are formed in accordance with the principle of resemblance.
Keywords: violin urtext, music-making, signs-images, baroque, chamber and solo pieces.
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